mUltimate Chopin

(Op. 4), Sonata in C minor, Mvt I

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 139-142

composition: (Op. 4), Sonata in C minor, Mvt I

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text we do not include the inauthentic fingering added by EE in bars 139-140 and 142.

category imprint: Differences between sources

issues: EE revisions

b. 139

composition: (Op. 4), Sonata in C minor, Mvt I

g3 in A (→GE→FE1,EE,IE)

g3 in FE2
..

One can doubt whether the A version (→GE→EE,IE) featuring g3 corresponds to Chopin's intention. The comparison with three analogous places, in which Chopin immediately introduces the key of the starting four-bar section (in bar 123 D minor, in bar 127 G minor and in bar 143 A minor), suggests that in the discussed bar it was supposed to be E minor, hence g3. On the other hand, the harmonic context – the chords in the previous bar – is not identical in these four places, which undermines the hypothesis of strict analogy. In this situation, in the main text we leave the literal interpretation of the A version (→GE→EE,IE); at the same time, we consider the version assuming that Chopin overlooked the  (which is quite likely here) to be an equal variant. A similar situation is to be found in the 4th mov. of the Sonata – at the beginning of bar 154 there is a B major chord, whereas the key of B minor appears only in bar 155, in spite of the fact that in all similar places both bars open with identical minor chords. In that situation the harmonic sequence leading to the analysed chord is also clearly different than in the remaining similar situations.

One can doubt whether the A version (→GE→FE1,EE,IE) featuring g3 corresponds to Chopin's intention. The comparison with three analogous places, in which Chopin immediately introduces the key of the starting four-bar section (in bar 123 D minor, in bar 127 G minor and in bar 143 A minor), suggests that in the discussed bar it was supposed to be E minor, hence g3. This was probably the reason why the reviser of FE2 added here a  lowering g3 to g3. On the other hand, the harmonic context – the chords in the previous bar – is not identical in these four places, which undermines the hypothesis of strict analogy. In this situation, in the main text we leave the literal interpretation of the A version (→GE→FE1→EE,IE); at the same time, we consider the FE2 version, assuming that Chopin overlooked the  (which is quite likely here), to be an equal variant. A similar situation is to be found in the 4th mov. of the Sonata – at the beginning of bar 154 there is a B major chord, whereas the key of B minor appears only in bar 155, in spite of the fact that in all similar places both bars open with identical minor chords. In that situation the harmonic sequence leading to the analysed chord is also clearly different than in the remaining similar situations.

category imprint: Differences between sources

issues: Omission of current key accidentals , Errors of A , FE revisions

b. 140-141

composition: (Op. 4), Sonata in C minor, Mvt I

No markings in A

 in GE (→FE,EE,IE)

[  ] suggested by the editors
..

Chopin stopped writing pedal marks probably due to distraction – in analogous bars 124-125 both bars include a full set of    marks, while the  mark in bar 140 is the last sign on this page of the manuscript (which ends on bar 142). Taking into account the above, in the main text we suggest supplementing the marks. The  mark in bar 140 was added already by GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , No pedal release mark , Inaccuracies in A

b. 140

composition: (Op. 4), Sonata in C minor, Mvt I

Slur to 7th quaver in A (→GE→EE,IE)

Slur to 8th quaver in FE
..

The longer FE slur is most probably due to the engraver's inaccuracy.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 141-142

composition: (Op. 4), Sonata in C minor, Mvt I

in A

 in GE (→FE,EE,IE)
..

In the main text we provide a  hairpin whose range we adopted from A. In the editions the mark was arbitrarily extended, spanning almost the entire sequence of thirds. 

category imprint: Differences between sources

issues: GE revisions